EDITOR’S PREFACE TO THE EXPANDED SECOND EDITION ix
PREFACE TO THE SECOND EDITION xvii
PREFACE xxiii
1. FUNDAMENTAL ANALYTICAL CONSIDERATIONS 1
The Style-Analytical Approach • Large Dimensions •
Middle Dimensions • Small Dimensions • The Four
Contributing Elements and the Fifth Combining Element
(SHMRG) • Movement and Shape • The
Style-Analytical Routine • Evaluation
2. SOUND 23
Timbre • Dynamics • Texture and Fabric •
Contributions of Sound to Movement • Contributions of
Sound to Shape • Sound in Large Dimensions • Sound
in Middle Dimensions • Sound in Small Dimensions
3. HARMONY 39
Dissonant Styles • Counterpoint • Contributions of
Harmony to Movement • Contributions of Harmony
to Shape • Harmony in Large Dimensions • Harmony in
Middle Dimensions • Harmony in Small Dimensions
4. MELODY 69
Melody in Large Dimensions • Melody in Middle
Dimensions • Melody in Small Dimensions
5. RHYTHM 88
The Layers of Rhythm • The Component States of
Rhythm • Rhythmic Typology • Rhythmic Contributions
to Shape • Rhythm in Large Dimensions • Rhythm in
Middle Dimensions • Rhythm in Small Dimensions
6. THE GROWTH PROCESS 115
The Morphology of Growth • Style Stratification •
Typology of Growth • Articulation • Growth in Large
Dimensions • Thematic Relationship • Growth in
Middle Dimensions • Growth in Small Dimensions •
The Influence of Texts
7. SYMBOLS FOR ANALYSIS AND STEREOTYPES OF SHAPE 153
Stereotypes of Shape • Variation Form • Fugue •
Mixtures of Variation and Recurrence •
Two-Part Form (Binary Form; Dance Form) •
Three-Part Form (ABA Form; Da Capo Form) •
Rondo Form (Ritornello Form; Formes fixes) • Sonata
Form • Sonata-Rondo Form • Concerto-Sonata Form
8. EVALUATION 194
Scope • Historical Considerations • Objective Values—
Control of SHMRG • Objective Evaluations:
(1) Unity • (2) Variety and Complexity • (3) Balance •
Subjective Evaluation
9. STYLE ANALYSIS IN FULL ACTION 224
Confusion of Dimensions • Significant and
Accessory Observations • Large Dimensions •
Middle Dimensions • Small Dimensions • Conclusions
WRITING ABOUT MUSIC 247
ENDNOTES 261
INDEX 282
Contents of Compact Disc
DEDICATION
EDITOR’S PREFACE TO THE EXPANDED SECOND EDITION
INTRODUCTION
MODEL 1 G regorian Chant
Kyrie IX (Liber Usualis 40)
MODEL 2 Latin Motet
Dominator – Ecce – Domino (School of Notre Dame) (c.1225)
MODEL 3 Isorhythmic Motet
Guillaume de Machaut, S’il estoit nulz (c.1350)
MODEL 4 Madrigal
Giovanni da Florentia, Nel mezzo (c.1350)
MODEL 5 Chanson
Gilles Binchois, De plus en plus (c.1440)
MODEL 6 Motet
Josquin de Prez, Tu pauperum refugium (after 1505)
MODEL 6A Motet [parallel model]
Giovanni Palestrina, Sicut cervus (1581)
MODEL 7 Dompe for Keyboard
Anonymous, My Lady Carey’s Dompe (c.1525)
MODEL 8 Sonata
Giovanni Gabrieli, Sonata pian’e forte (1597)
MODEL 9 Sonata
Arcangelo Corelli, Sonata in E minor, Op. 5, No. 8/I (1700)
MODEL 10 Air
G.F. Handel, Ev’ry Valley (Messiah) (1742)
MODEL 11 Sonata
F.J. Haydn, Sonata, No. 4, Hob. XVI/G1 (before 1766)
MODEL 11A Sonata [parallel model]
F.J. Haydn, Sonata, No. 6, Hob. XVI/10 (before 1766)
MODEL 12 Lied
Robert Schumann, Das verlassne Mägdelein, Op. 64, No. 2 (1847)
MODEL 12A Lied [parallel model]
Hugo Wolf, Das verlassne Mägdelein (1888)
MODEL 13 Prelude
Claude Debussy, Des pas sur la neige (Preludes, Book I/6) (1916)
MODEL 13A Prelude [parallel model]
Claude Debussy, Des pas sur la neige (Preludes, Book I/8) (1916)
MODEL 14 Piano Variation
Anton von Webern, Piano Variation, Op. 27/II (1936)
MODEL 15 Piece for Solo Flute
Edgard Varèse, Density 21.5 (1936, rev. 1945)